Introduction:
In mid-19th century England, realistic literature came as a response to the preceding romantic period. The romantic period was known to emphasize the experiences of the individual and was regarded as a highly aesthetic period. It was related with the movement of sensibility or sentimentalism, which stressed the importance of emotions and feelings of sympathy (Kitson 328-329). Contrarily, realism during the Victorian age aimed to address economic and social issues in society by depicting the struggles in the developing society as accurately as possible (Redd). Consequently, in the 1830s, when Charles Dickens was writing Oliver Twist, it is justifiable that elements of both realism and romanticism can be found in the novel. This paper serves to investigate the sentimental aspects as well as the contrasting realistic aspects in Oliver Twist. Undoubtedly, these two effects are paradoxical; while realism is meant to show the harsh and filthy living and working conditions of the poor population, sentimentalism deals with emotions and triggers compassion from the readers. To combine these two techniques causes mixed feelings amongst readers. Are they supposed to be shocked by the social situation? Or are they supposed to be moved with sweet and sympathetic emotions? I chose this topic because whilst reading the book, the realistic scenes in some chapters contrasted strongly with sentimental scenes in others. I found it interesting how the author created realistic and
How free is free? The purpose of realism in the 1800s was to get people’s attention. The authors did that by relating to real life situations or adding in things people wanted or needed. For example, Frederick Douglass wrote My bondage And my freedom and Kate Chopin wrote “ The story of an hour”.
Literature that stimulates the feeling of pity, sympathy and sorrow is Pathos. The two pieces of literature express pathos in different lights, showcasing a rollercoaster of emotions for the reader. John Steinbeck’s novel Of Mice and Men and Christie McLaren’s article “Suitcase Lady” both expose heartache and social inequalities to deduce the feeling of commiseration. The bleak hardship of life affirms the heartache through Lennie and the Suitcase Lady. Lennie is loyal to George and is terrified of upsetting his friend.
In the nineteenth century, Dickens was writing a forgettable epic works. "Dickens beliefs and attitudes were typical of the age in which he lived” (Slater 301). The circumstances and financial difficulties caused Dickens’s father to be imprisoned briefly for debt. Dickens himself was put to work for a few months at a shoe-blacking warehouse. Memories of this painful period in his life were to influence much of his later writing, which is characterized by empathy, oppressed, and a keen examination of class distinctions.
Satirical and skeptical were the mode of their writing style. Emotions, feelings, instinct and idealism are keys for the writer those emerged during the Romantic and Gothic period in American literature. Imagination and autobiographical elements dominate in the works whereas supernatural elements are blended in the works of the Dark Romantics. Autonomy and individualism are given preference by the transcendentalists. Disappointment, discontent and distress affected the writers of Realism after the industrial revolution in America.
The nineteenth century was a breeding ground for many literary movements, including realism, romanticism and naturalism. Realism consists of literature that is consistent, predictable, and sticks to the “simple truth” of how regular people live and talk. Romanticism is literature that contains things of intellect, strangeness and remoteness and tries to make the familiar unfamiliar. Finally, naturalism is literature that has regular people in extraordinary circumstances; the hero is at the mercy of larger social and natural forces, which are cruelly indifferent; traces of social Darwinism can be found in the literature and there is generally a brutal struggle for survival. Realism can be seen in The Yellow Wallpaper by Charlotte Perkins Gilman,
Joseph Campbell once said, “A hero is someone who has given his or her life to something bigger than oneself.” Being a hero doesn’t mean being “super”, it means having the courage to run towards danger when everybody else is running away from it. Heroism is the courage, the bravery to risk his/her life in order to save somebody else’s. In the article, Where I Find My Heroes, Oliver Stone states, “Who is heroic?
This heightens the impacts of the more vivid descriptions that follow, when Dickens describes the children as “wretched, abject, frightful, hideous, miserable.” The juxtaposition of these terms to the traditional view of children as vulnerable creates a sense of shock in the reader. Furthermore, the use of asyndetic listing alongside the negative adjectives creates a semantic field of horror. In this way, the description of Ignorance and Want as children is used by Dickens to increase the atmosphere of pessimism.
Dejected by the loss to the American Revolutionary War, George III lost the land acquired overseas and his mental stability. Later on, it was said that he suffered from porphyria, experiencing hallucinations, eventually leading up to his doomed derangement in 1788. The king’s psychotic perception not only mirrors Victor’s maniacal mind, but also paints the setting for Frankenstein, acting as a catalyst to an era of unorthodox vision, pandemonium, and creativity. In the early-to-mid 1700s, literature revolved upon concepts that were “driven by ideas, events, and reason”(“Enlightenment and Romanticism: a Comparison”).
This is the opening line of Pride and Prejudice; a romance novel written by Jane Austen and published on the 28th of January 1813 by an anonymous author – the same pseudonymous that she had previously used to publish Sense and Sensibility -. Jane Austen was born in 1775 in England (Stevenson, Hampshire) and it is thought that by the age of 16 had already written many different novels, even though it was not until 1811 when she was able to publish her first novel. The novel brings up many relevant topics that reflect the British life and customs characteristic of the eighteenth century. Austen makes a critic on these topics in a subtle -almost unnoticeable- way, the characters personify the British old-fashioned values that the author rejects, giving the reader freedom to judge the situation, while guiding them to
It may skew her thinking and at times be subjective. The intended audience is someone who is studying literature and interested in how women are portrayed in novels in the 19th century. The organization of the article allows anyone to be capable of reading it.
The main objective of this study is to find out and compare the concept of magical realism on Harry potter and The Philosopher Stone and Matilda. Parents always want to see their children live in happily. But in these both the protagonists suffer out of their parents and people from outside. They also get help from their teachers and friends. They do anything through magic, adventures to save their life from the evil people and those who against them.
51 Moreover, though Victorian gothic were still maintaining the elements of supernaturalism and fancy , there is a new special focus on realism . For instance, Dickens’s novels added supernatural elements to social criticism; in Great Expectations(1860), Dickens associates the characters of miss Havisham and Magwitch to ghost-like appearance though they are not. Such adaptation can be seen in charlotte and Emily Brontë as well .52 In addition to the setting, many gothic conventions take a new form in the Victorian age. For instance, the theme of the imprisonment, especially of women, both psychologically and physically, reflects the women’s internal state in the Victorian age.
For example, Oliver gets dragged "into a labyrinth of dark, narrow courts" (15.63), and Fagin "becomes involved" in "a maze of mean dirty streets which abound in that close and densely-populated quarter" (19.4).” “The village in the country where Oliver is so happy with Rose and Mrs. Maylie (Book Two, Chapters Nine and Ten) is the total opposite. The narrator suggests that the country can actually "cure" some of the bad effects of the city “Who can tell how scenes of peace and quietude sink into the minds of pain-worn dwellers in close and noisy places, and carry their own freshness deep into their jaded hearts?” (32.51)” The post-colonial perspective Oliver Twist’s text contains a lot of imagery and descriptions.
Though at first the melodrama and overplaying of the imagination scenes may seem to be a typical blunder on the part of the movie makers, they are actually consistent with Catherine’s character and poke fun at the melodrama often portrayed in movies of similar genres to Northanger Abbey. This parody on other films mirrors Austen’s parody of the gothic novel. Still, on the whole, there is something to be desired when looking at how the gothic does and does not find its way into the movies. Though the imagination scenes certainly do portray gothic scenarios as Catherine perceives them, they poke more fun at overdramatized film adaptations of romantic and 19th century novels than they do at the genre’s themselves. Furthermore, the imagination scenes are
1.4 Literature overview At the end of the nineteen century, was published a book, for the first time, concerning Jane Austen’s literary work. Exactly in 1890, the writer Godwin Smith gave for printing Life of Jane Austen, and from then he started a new era which values the author’s literary legacy, so others begun to write critics; thus, this moment marked the first step of the authorized criticism, focused on Austen’s writing style. In conformity with B.C. Southam Critical Heritage, the criticism attributed to Jane had increased after 1870 and became formal and organized. Therefore, “we see the novels praised for their elegance of form and their surface ‘finish’; for the realism of their fictional world, the variety and vitality of their characters;